Tim BraithwaiteJohn Crompton on Suitable Voices for the Countertenor Part (1778)‘Suitable voices for the middle, or counter part are rather difficult to find; but let no-one, for that reason, attempt it with a feigned...
Tim BraithwaiteMichael Praetorius on the Requirements of a Singer and Expected Vocal Ranges‘Firstly, a singer must have a voice by nature, in which three requirements and three flaws are to be noted. The requirements are these:...
Tim BraithwaiteGiovanni Camillo Maffei on Those who ‘Sing the Bass, the Tenor, and any Other Part with Great Ease.’‘Thus I say, that these voices are born from the matter of the tube [throat]; and by tube [throat] I mean all the parts mentioned above,...
Tim BraithwaiteJohn Curwen Describes a Rehearsal of the Boys at St. Pauls, London in 1891‘The Cathedral bell is striking two, and in the passage boys scud to and fro shouting “Practice!" and racing to their places in the...
Tim BraithwaiteLeopold von Sonnleithner Remembering in 1857 Johann Vogl’s Singing and Influence on Franz Schubert‘Without a doubt, [Johann] Michael Vogl stands foremost among those who recognised and promoted Schubert’s genius early on. As far as...
Tim BraithwaiteHector Berlioz on the Haute-Contre (1843)‘The old masters of the French school, who never employed the head voice, wrote a part in their operas which they called haute-contre...
Tim BraithwaiteJoseph de Lalande's Comparison of French and Italian Register Usage‘I have said that the tenor of the Italians was the haute-contre of the French; at least the tenors hardly differ if...